with the new old ways Jack White is producing/making music do you believe this is the type of sound Bob would like when he refers to finding the 'older' sound, etc.?

Thank you All

I do not see what he could add to the "mix". Furthermore he is too much of a control freak for it to ever work out. I like his production work on Karen Elson's "The Ghost Who Walks", though and his reissues of old blues and country recordings on Third Man are excellent.

I would hope not to read news of a Jack White-produced Bob Dylan album. It would be hard for the album to stand on its own without whatever associations you have with Jack White floating around in your head!

Bob has done an amazing job producing his own records IMO and really the only producer whose name would get me stoked to have on board would be Daniel Lanois.

Not that someone else couldn't do an awesome job of course; that's just the only name that would get me stoked having not heard any music.

As long as the engineering is competent (Garth pressing play) all that really matters when recording a Dylan album is the songs and the performances. I can't think of too many Dylan albums where the producer mattered in terms of my own listening experience. What's the difference between Tom Wilson and Bob Johnston when it comes to producing Dylan? Nothing anyone hears in the music. There's a difference between Robbie Robertson and Mike Bloomfield but I don't think those producers chose the guitar players. Dylan albums should almost produce themselves. The album that comes to mind when I feel like the production was particularly relevant is BOTT. Produced by Bob Dylan.

As long as the engineering is competent (Garth pressing play) all that really matters when recording a Dylan album is the songs and the performances. I can't think of too many Dylan albums where the producer mattered in terms of my own listening experience. What's the difference between Tom Wilson and Bob Johnston when it comes to producing Dylan? Nothing anyone hears in the music. There's a difference between Robbie Robertson and Mike Bloomfield but I don't think those producers chose the guitar players. Dylan albums should almost produce themselves. The album that comes to mind when I feel like the production was particularly relevant is BOTT. Produced by Bob Dylan.

They both seem to love the same music, and they have mutual respect for each other as well. Is that a recipe for a great album? No, but I think it could help.

Before I was able to read the thread I thought this was real. Nearly had a heart attack! I can't say that I'm too fussy over who would produce Dylan's next album, I would just like there to BE a next album.

The entire album, which consists of covers of classic songs by artists Bruce Springsteen, Bob Dylan, Willie Nelson, Gordon Lightfoot and others, was recorded in a refurbished 1947 Voice-o-Graph vinyl recording booth at Jack White's Third Man Records recording studio in Nashville, Tennessee. Of this method, White said, "we were obfuscating beauty on purpose to get to a different place, a different mood."

I'm a big fan of Jack White and no doubt any collaboration would be very fruitful. But the problem with Bob's recent output hasn't been the production. All his 21st century albums have been really well produced. Bob shares similar tastes to Jack White when it comes to production, favouring live recordings to tape (albeit with a brief aberration in the mid-2000s where Bob used Pro Tools). Both Bob and Jack like to try and recreate the feel, if not the sound, of old blues records in a modern setting. The Sinatra albums, from a production standpoint, sound glorious, using vintage ribbon mics and great rooms - not dissimilar to Jack White's techniques on his American Epic experimentation.

So I don't think a Jack White produced Dylan album would sound greatly different from Love & Theft, Modern Times or Tempest. What's crucial for Dylan's next album is not so much the production, but that Dylan returns to original material.

I'd love to see Dylan sit in with White's live band though, or vice versa.

Bob and Jack like each other and have played together a few times. Jack has covered some of Dylan's songs very nicely. I would think their collaboration would be interesting and fruitful. I can see an album like this having appeal... but I'm sorry to say I don't see it happening.

jack white/ white stripes are nothing more than phoney copycats who wanna sound "garage". nobody in this scene takes them seriously, neither can i, they are hacks that mainstream culture is feeding you.

i'm all for having somebody from the garage scene produce bob. would be a great shot in the arm. but then take one of the "real" guys, not the bad copy. i'd favour greg cartwright (oblivians, reigning sound et al) or mark sultan (spaceshits et al).

jack white/ white stripes are nothing more than phoney copycats who wanna sound "garage". nobody in this scene takes them seriously, neither can i, they are hacks that mainstream culture is feeding you.

i'm all for having somebody from the garage scene produce bob. would be a great shot in the arm. but then take one of the "real" guys, not the bad copy. i'd favour greg cartwright (oblivians, reigning sound et al) or mark sultan (spaceshits et al).

A good example of the production being relevant on a Dylan album can be found in the two late 70's albums. Slow Train has a solid production that enhanced the songs without getting in the way. The previous album contained production elements that got in the way of the songs. At least from my perspective. Overall I prefer the songs on Street Legal but I prefer the way Slow Train was arranged/produced. It might all be down to the backing bands, but I don't know if that was the producer's influence or Dylan's.

So I don't think a Jack White produced Dylan album would sound greatly different from Love & Theft, Modern Times or Tempest. What's crucial for Dylan's next album is not so much the production, but that Dylan returns to original material.

Its not crucial that Dylan returns to original material,its not even crucial that he records another album at all, what we want as fans even this late in the game because we are selfish is more Dylan material, and because we are selfish and think its all about us and what we want him to do thats why there was a negative reaction that some will never appreciate Shadows in the night, Fallen Angels,and Triplicate.

Of course I sit with everyone that I would love what I guess people might call a REAL Bob Dylan album although I love the last three albums myself and im glad he never listens too his fans. But again this late in the game its not crucial for him that he goes back to original material its more crucial to US.

And then theres the quality of the original material if he released something of the standard of Together Through Life rather than Tempest or Modern Times are people going to care? or would they then say he was uninspired and maybe should have recorded more covers ... of a different genre perhaps?

Not saying I hate Together Through Life personally I think it was stronger than most that Bob recorded in the 1990s just that its prob the weakest of the original albums since Time out of Mind and yes I am playing devils advocate.

I think Jack White is cool, I get what he's doing. The only problem is - his music is awful. There's just nothing going on there that draws me in. I can't listen to those songs with no bass guitar and lousy drumming.

I think Jack White is cool, I get what he's doing. The only problem is - his music is awful. There's just nothing going on there that draws me in. I can't listen to those songs with no bass guitar and lousy drumming.

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